Jean-Baptiste-Camille Corot

Jean-Baptiste-Camille Corot (French: [ʒɑ̃ ba.tist ka.mij kɔ.ʁo]; July 16, 1796[1] – February 22, 1875) was a French landscape and portrait painter as well as a printmaker in etching. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

Jean-Baptiste-Camille Corot
Jean-Baptiste-Camille Corot c1850
Portrait of Corot circa 1850
Jean-Baptiste-Camille Corot

July 16, 1796
DiedFebruary 22, 1875 (aged 78)
Known forPainting, printmaking
MovementRealism, Romanticism


Camille Corot - Woman with a Pearl
Woman with a Pearl, 1868–70, Paris: Musée du Louvre

Early life and training

Jean-Baptiste-Camille Corot (Camille Corot for short) was born in Paris on July 16, 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people—his father was a wigmaker and his mother a milliner—and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money, as his parents made good investments and ran their businesses well.[2] After his parents married, they bought the millinery shop where his mother had worked and his father gave up his career as a wigmaker to run the business side of the shop. The store was a famous destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three children born to the family, who lived above their shop during those years.[3]

Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen,[4] but left after having scholastic difficulties and entered a boarding school. He "was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes."[3] Unlike many masters who demonstrated early talent and inclinations toward art, before 1815 Corot showed no such interest. During those years he lived with the Sennegon family, whose patriarch was a friend of Corot's father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature.[5] At nineteen, Corot was a "big child, shy and awkward. He blushed when spoken to. Before the beautiful ladies who frequented his mother's salon, he was embarrassed and fled like a wild thing... Emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke."[6] When Corot's parents moved into a new residence in 1817, the 21-year-old Corot moved into the dormer-windowed room on the third floor, which became his first studio as well.[7]

With his father's help Corot apprenticed to a draper, but he hated commercial life and despised what he called "business tricks", yet he faithfully remained in the trade until he was 26, when his father consented to his adopting the profession of art. Later Corot stated, "I told my father that business and I were simply incompatible, and that I was getting a divorce."[8] The business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and began immediately with landscapes.[7] Starting in 1822 after the death of his sister, Corot began receiving a yearly allowance of 1500 francs which adequately financed his new career, studio, materials, and travel for the rest of his life. He immediately rented a studio on quai Voltaire.[9]

Camille Corot - A Woman Reading - The Metropolitan Museum of Art
A Woman Reading, 1869/1870, Metropolitan Museum of Art

During the period when Corot acquired the means to devote himself to art, landscape painting was on the upswing and generally divided into two camps: one―historical landscape by Neoclassicists in Southern Europe representing idealized views of real and fancied sites peopled with ancient, mythological, and biblical figures; and two―realistic landscape, more common in Northern Europe, which was largely faithful to actual topography, architecture, and flora, and which often showed figures of peasants. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors. Highly influential upon French landscape artists in the early 19th century was the work of Englishmen John Constable and J. M. W. Turner, who reinforced the trend in favor of Realism and away from Neoclassicism.[10]

For a short period between 1821 and 1822, Corot studied with Achille Etna Michallon, a landscape painter of Corot's age who was a protégé of the painter Jacques-Louis David and who was already a well-respected teacher. Michallon had a great influence on Corot's career. Corot's drawing lessons included tracing lithographs, copying three-dimensional forms, and making landscape sketches and paintings outdoors, especially in the forests of Fontainebleau, the seaports along Normandy, and the villages west of Paris such as Ville-d'Avray (where his parents had a country house).[11] Michallon also exposed him to the principles of the French Neoclassic tradition, as espoused in the famous treatise of theorist Pierre-Henri de Valenciennes, and exemplified in the works of French Neoclassicists Claude Lorrain and Nicolas Poussin, whose major aim was the representation of ideal Beauty in nature, linked with events in ancient times.

Though this school was on the decline, it still held sway in the Salon, the foremost art exhibition in France attended by thousands at each event. Corot later stated, "I made my first landscape from nature...under the eye of this painter, whose only advice was to render with the greatest scrupulousness everything I saw before me. The lesson worked; since then I have always treasured precision."[12] After Michallon's early death in 1822, Corot studied with Michallon's teacher, Jean-Victor Bertin, among the best known Neoclassic landscape painters in France, who had Corot draw copies of lithographs of botanical subjects to learn precise organic forms. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature. His notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two.[13]

First trip to Italy

La Trinité-des-Monts by Corot Louvre RF2041 n02
La Trinité-des-Monts, seen from the Villa Medici, 1825–1828, oil on canvas. Paris: Musée du Louvre.

With his parents' support, Corot followed the well-established pattern of French painters who went to Italy to study the masters of the Italian Renaissance and to draw the crumbling monuments of Roman antiquity. A condition by his parents before leaving was that he paint a self-portrait for them, his first. Corot's stay in Italy from 1825 to 1828 was a highly formative and productive one, during which he completed over 200 drawings and 150 paintings.[14] He worked and traveled with several young French painters also studying abroad who painted together and socialized at night in the cafes, critiquing each other and gossiping. Corot learned little from the Renaissance masters (though later he cited Leonardo da Vinci as his favorite painter) and spent most of his time around Rome and in the Italian countryside.[15] The Farnese Gardens with its splendid views of the ancient ruins was a frequent destination, and he painted it at three different times of the day.[16] The training was particularly valuable in gaining an understanding of the challenges of both the mid-range and panoramic perspective, and in effectively placing man-made structures in a natural setting.[17] He also learned how to give buildings and rocks the effect of volume and solidity with proper light and shadow, while using a smooth and thin technique. Furthermore, placing suitable figures in a secular setting was a necessity of good landscape painting, to add human context and scale, and it was even more important in allegorical landscapes. To that end Corot worked on figure studies in native costume as well as nude.[18] During winter, he spent time in a studio but returned to work outside as quickly as weather permitted.[19] The intense light of Italy posed considerable challenges, "This sun gives off a light that makes me despair. It makes me feel the utter powerlessness of my palette."[20] He learned to master the light and to paint the stones and sky in subtle and dramatic variation.

It was not only Italian architecture and light which captured Corot's attention. The late-blooming Corot was entranced with Italian females as well: "They still have the most beautiful women in the world that I have met....their eyes, their shoulders, their hands are spectacular. In that, they surpass our women, but on the other hand, they are not their equals in grace and kindness...Myself, as a painter I prefer the Italian woman, but I lean toward the French woman when it comes to emotion."[20] In spite of his strong attraction to women, he wrote of his commitment to painting: "I have only one goal in life that I want to pursue faithfully: to make landscapes. This firm resolution keeps me from a serious attachment. That is to say, in marriage...but my independent nature and my great need for serious study make me take the matter lightly."[20]

Jean-Baptiste-Camille Corot 006
The Bridge at Narni, 1826, oil on paper. Paris: Musée du Louvre. A product of one of the artist's youthful sojourns to Italy, and in Kenneth Clark's words "as free as the most vigorous Constable".

Striving for the Salon

During the six-year period following his first Italian visit and his second, Corot focused on preparing large landscapes for presentation at the Salon. Several of his salon paintings were adaptations of his Italian oil sketches reworked in the studio by adding imagined, formal elements consistent with Neoclassical principles.[21] An example of this was his first Salon entry, View at Narni (1827), where he took his quick, natural study of a ruin of a Roman aqueduct in dusty bright sun and transformed it into a falsely idyllic pastoral setting with giant shade trees and green lawns, a conversion meant to appeal to the Neoclassical jurors.[22] Many critics have valued highly his plein-air Italian paintings for their "germ of Impressionism", their faithfulness to natural light, and their avoidance of academic values, even though they were intended as studies.[23] Several decades later, Impressionism revolutionized art by a taking a similar approach—quick, spontaneous painting done in the out-of-doors; however, where the Impressionists used rapidly applied, un-mixed colors to capture light and mood, Corot usually mixed and blended his colors to get his dreamy effects.

When out of the studio, Corot traveled throughout France, mirroring his Italian methods, and concentrated on rustic landscapes. He returned to the Normandy coast and to Rouen, the city he lived in as a youth.[24] Corot also did some portraits of friends and relatives, and received his first commissions. His sensitive portrait of his niece, Laure Sennegon, dressed in powder blue, was one of his most successful and was later donated to the Louvre.[25] He typically painted two copies of each family portrait, one for the subject and one for the family, and often made copies of his landscapes as well.[26]

Forest of Fontainebleau-1830-Jean-Baptiste-Camille Corot
View of the Forest of Fontainebleau (1830)

In the spring of 1829, Corot came to Barbizon to paint in the Forest of Fontainebleau; he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830; his View of the Forest of Fontainebleau (now in the National Gallery in Washington) and, for the salon of 1831, another View of the Forest of Fontainebleau. While there he met the members of the Barbizon school; Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny.[27] Corot exhibited one portrait and several landscapes at the Salon in 1831 and 1833.[28] His reception by the critics at the Salon was cool and Corot decided to return to Italy, having failed to satisfy them with his Neoclassical themes.


During his two return trips to Italy, he visited Northern Italy, Venice, and again the Roman countryside. In 1835, Corot created a sensation at the Salon with his biblical painting Agar dans le desert (Hagar in the Wilderness), which depicted Hagar, Sarah's handmaiden, and the child Ishmael, dying of thirst in the desert until saved by an angel. The background was likely derived from an Italian study.[29] This time, Corot's unanticipated bold, fresh statement of the Neoclassical ideal succeeded with the critics by demonstrating "the harmony between the setting and the passion or suffering that the painter chooses to depict in it."[29] He followed that up with other biblical and mythological subjects, but those paintings did not succeed as well, as the Salon critics found him wanting in comparisons with Poussin.[30] In 1837, he painted his earliest surviving nude, The Nymph of the Seine. Later, he advised his students "The study of the nude, you see, is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."[31]

Venise, La Piazetta (Camille Corot)
Venise, La Piazzetta, 1835

Through the 1840s, Corot continued to have his troubles with the critics (many of his works were flatly rejected for Salon exhibition), nor were many works purchased by the public. While recognition and acceptance by the establishment came slowly, by 1845 Baudelaire led a charge pronouncing Corot the leader in the "modern school of landscape painting". While some critics found Corot's colors "pale" and his work having "naive awkwardness", Baudelaire astutely responded, "M. Corot is more a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."[32] In 1846, the French government decorated him with the cross of the Légion d'honneur and in 1848 he was awarded a second-class medal at the Salon, but he received little state patronage as a result.[33] His only commissioned work was a religious painting for a baptismal chapel painted in 1847, in the manner of the Renaissance masters.[34] Though the establishment kept holding back, other painters acknowledged Corot's growing stature. In 1847, Delacroix noted in his journal, "Corot is a true artist. One has to see a painter in his own place to get an idea of his worth...Corot delves deeply into a subject: ideas come to him and he adds while working; it's the right approach."[35] Upon Delacroix's recommendation, the painter Constant Dutilleux bought a Corot painting and began a long and rewarding relationship with the artist, bringing him friendship and patrons.[35] Corot's public treatment dramatically improved after the Revolution of 1848, when he was admitted as a member of the Salon jury.[36] He was promoted to an officer of the Salon in 1867.

Having forsaken any long-term relationships with women, Corot remained very close to his parents even in his fifties. A contemporary said of him, "Corot is a man of principle, unconsciously Christian; he surrenders all his freedom to his mother...he has to beg her repeatedly to get permission to go out...for dinner every other Friday."[37] Apart from his frequent travels, Corot remained closely tethered to his family until his parents died, then at last he gained the freedom to go as he pleased.[38] That freedom allowed him to take on students for informal sessions, including the Jewish artists Édouard Brandon and future Impressionist Camille Pissarro, who was briefly among them.[35] Corot's vigor and perceptive advice impressed his students. Charles Daubigny stated, "He's a perfect Old Man Joy, this Father Corot. He is altogether a wonderful man, who mixes jokes in with his very good advice."[39] Another student said of Corot, "the newspapers had so distorted Corot, putting Theocritus and Virgil in his hands, that I was quite surprised to find him knowing neither Greek nor Latin...His welcome is very open, very free, very amusing: he speaks or listens to you while hopping on one foot or on two; he sings snatches of opera in a very true voice", but he has a "shrewd, biting side carefully hidden behind his good nature."[40]

By the mid-1850s, Corot's increasingly impressionistic style began to get the recognition that fixed his place in French art. "M. Corot reproducing vegetation in its fresh beginnings; he marvelously renders the firstlings of the new world."[41] From the 1850s on, Corot painted many landscape souvenirs and paysages, dreamy imagined paintings of remembered locations from earlier visits painted with lightly and loosely dabbed strokes.[42]

Later years

Maison Camille Corot
Plaque on the home of Camille Corot where he died 22 February 1875 at: 56, rue du Faubourg-Poissionnière, Paris, 10th arr.

In the 1860s, Corot was still mixing peasant figures with mythological ones, mixing Neoclassicism with Realism, causing one critic to lament, "If M. Corot would kill, once and for all, the nymphs of his woods and replace them with peasants, I should like him beyond measure."[43] In reality, in later life his human figures did increase and the nymphs did decrease, but even the human figures were often set in idyllic reveries.

Jean-Baptiste-Camille Corot - St Sebastian Succoured by Holy Women - Walters 37192
Saint Sebastian Succoured by the Holy Women, between 1851 and 1873,[44] oil on canvas, The Walters Art Museum

In later life, Corot's studio was filled with students, models, friends, collectors, and dealers who came and went under the tolerant eye of the master, causing him to quip, "Why is it that there are ten of you around me, and not one of you thinks to relight my pipe."[45] Dealers snapped up his works and his prices were often above 4,000 francs per painting.[39] With his success secured, Corot gave generously of his money and time. He became an elder of the artists' community and would use his influence to gain commissions for other artists. In 1871 he gave £2000 for the poor of Paris, under siege by the Prussians. (see: Franco-Prussian War) During the actual Paris Commune, he was at Arras with Alfred Robaut. In 1872 he bought a house in Auvers as a gift for Honoré Daumier, who by then was blind, without resources, and homeless. In 1875, he donated 10,000 francs to the widow of Millet in support of her children. His charity was near proverbial. He also financially supported the upkeep of a day center for children on rue Vandrezanne in Paris. In later life, he remained a humble and modest man, apolitical and happy with his luck in life, and held close the belief that "men should not puff themselves up with pride, whether they are emperors adding this or that province to their empires or painter who gain a reputation."[46]

Despite great success and appreciation among artists, collectors, and the more generous critics, his many friends considered, nevertheless, that he was officially neglected, and in 1874, a short time before his death, they presented him with a gold medal.[47] He died in Paris of a stomach disorder aged 78 and was buried at Père Lachaise Cemetery.

A number of followers called themselves Corot's pupils. The best known are Camille Pissarro, Eugène Boudin, Berthe Morisot, Stanislas Lépine, Antoine Chintreuil, François-Louis Français, Charles Le Roux, and Alexandre Defaux.

Art and technique

Ville d'Avray, ca. 1867, oil on canvas. Washington, D.C.: National Gallery of Art.

Corot is a pivotal figure in landscape painting. His work simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. Of him Claude Monet exclaimed in 1897, "There is only one master here—Corot. We are nothing compared to him, nothing."[48] His contributions to figure painting are hardly less important; Degas preferred his figures to his landscapes, and the classical figures of Picasso pay overt homage to Corot's influence.

Historians have divided his work into periods, but the points of division are often vague, as he often completed a picture years after he began it. In his early period, he painted traditionally and "tight"—with minute exactness, clear outlines, thin brush work, and with absolute definition of objects throughout, with a monochromatic underpainting or ébauche.[49] After he reached his 50th year, his methods changed to focus on breadth of tone and an approach to poetic power conveyed with thicker application of paint; and about 20 years later, from about 1865 onwards, his manner of painting became more lyrical, affected with a more impressionistic touch. In part, this evolution in expression can be seen as marking the transition from the plein-air paintings of his youth, shot through with warm natural light, to the studio-created landscapes of his late maturity, enveloped in uniform tones of silver. In his final 10 years he became the "Père (Father) Corot" of Parisian artistic circles, where he was regarded with personal affection, and acknowledged as one of the five or six greatest landscape painters the world had seen, along with Meindert Hobbema, Claude Lorrain, J.M.W. Turner and John Constable. In his long and productive life, he painted over 3,000 paintings.[50]

Though often credited as a precursor of Impressionist practice, Corot approached his landscapes more traditionally than is usually believed. Compared to the Impressionists who came later, Corot's palette is restrained, dominated with browns and blacks ("forbidden colors" among the Impressionists), along with dark and silvery green. Though appearing at times to be rapid and spontaneous, usually his strokes were controlled and careful, and his compositions well-thought out and generally rendered as simply and concisely as possible, heightening the poetic effect of the imagery. As he stated, "I noticed that everything that was done correctly on the first attempt was more true, and the forms more beautiful."[51]

Corot's approach to his subjects was similarly traditional. Although he was a major proponent of plein-air studies, he was essentially a studio painter and few of his finished landscapes were completed before the motif. For most of his life, Corot would spend his summers travelling and collecting studies and sketches, and his winters finishing more polished, market-ready works.[52] For example, the title of his Bathers of the Borromean Isles (1865–70) refers to Lake Maggiore in Italy, despite the fact that Corot had not been to Italy in 20 years.[53] His emphasis on drawing images from the imagination and memory rather than direct observation was in line with the tastes of the Salon jurors, of which he was a member.[54]

In the 1860s, Corot became interested in photography, taking photos himself and becoming acquainted with many early photographers, which had the effect of suppressing his painting palette even more in sympathy with the monochromic tones of photographs. This had the result of making his paintings even less dramatic but somewhat more poetic, a result which caused some critics to cite a monotony in his later work. Théophile Thoré wrote that Corot "has only a single octave, extremely limited and in a minor key; a musician would say. He knows scarcely more than a single time of day, the morning, and a single color, pale grey."[55] Corot responded:

What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones.[43]

In his aversion to shocking color, Corot sharply diverged from the up-and-coming Impressionists, who embraced experimentation with vivid hues.

Jean-BaptisteCamilleCorot 1873 SmyrneBournabat
Bornova, İzmir, 1873

In addition to his landscapes (so popular was the late style that there exist numerous forgeries), Corot produced a number of prized figure pictures. While the subjects were sometimes placed in pastoral settings, these were mostly studio pieces, drawn from the live model with both specificity and subtlety. Like his landscapes, they are characterized by a contemplative lyricism, with his late paintings L’Algérienne (Algerian Woman) and La Jeune Grecque (The Greek Girl) being fine examples.[56] Corot painted about fifty portraits, mostly of family and friends.[57] He also painted thirteen reclining nudes, with his Les Repos (1860) strikingly similar in pose to Ingres famous Le Grande Odalisque (1814), but Corot's female is instead a rustic bacchante. In perhaps his last figure painting, Lady in Blue (1874), Corot achieves an effect reminiscent of Degas, soft yet expressive. In all cases of his figure painting, the color is restrained and is remarkable for its strength and purity. Corot also executed many etchings and pencil sketches. Some of the sketches used a system of visual symbols—circles representing areas of light and squares representing shadow. He also experimented with the cliché verre process—a hybrid of photography and engraving.[58] Starting in the 1830s, Corot also painted decorative panels and walls in the homes of friends, aided by his students.[59]

Corot summed up his approach to art around 1860: "I interpret with my art as much as with my eye."[60]

The works of Corot are housed in museums in France and the Netherlands, Britain, North America[61] and Russia.


Jean-Baptiste-Camille Corot - The Little Bird Nesters (1873-1874) detail 01
The Little Bird Nesters (1873–1874) detail

The strong market for Corot's works and his relatively easy-to-imitate late painting style resulted in a huge production of Corot forgeries between 1870 and 1939. René Huyghe famously quipped that "Corot painted three thousand canvases, ten thousand of which have been sold in America". Although this is a humorous exaggeration, thousands of forgeries have been amassed, with the Jousseaume collection alone containing 2,414 such works.[62] Adding to the problem was Corot's lax attitude which encouraged copying and forgery.[63] He allowed his students to copy his works and to even borrow the works for later return, he would touch up and sign student and collector copies, and he would loan works to professional copiers and to rental agencies.[64] According to Corot cataloguist Etienne Moreau-Nélaton, at one copying studio "The master's complacent brush authenticated these replicas with a few personal and decisive retouchings. When he was no longer there to finish his "doubles", they went on producing them without him."[65] The cataloging of Corot's works in an attempt to separate the copies from the originals backfired when forgers used the publications as guides to expand and refine their bogus paintings.[66]

In popular culture

Two of Corot's works are featured and play an important role in the plot of the French film L'Heure d'été (English title Summer Hour). The film was produced by the Musée d'Orsay, and the two works were lent by the museum for the making of the film.

There is a street named Rue Corot on Île des Sœurs, Quebec, named for the artist.

Selected works

Corot Monk Reading Book 1
Monk Reading Book, 1850–1855


Jean-Baptiste-Camille Corot - View from the Farnese Gardens, Rome - Google Art Project

View from the Farnese Gardens. 1826, The Phillips Collection

Corot - Morning in Venice - Pushkin.jpeg

Morning in Venice. 1834, Pushkin Museum

Jean Baptiste Camille - Portrait of Mariette Gambay

Portrait of Mariette Gambay (“La Songerie de Mariette”). 1869–1870, Pushkin Museum

Jean-Baptiste-Camille Corot 046

Stormy Weather, Pas de Calais. c. 1870, Pushkin Museum

'Diana Bathing' by Jean-Baptiste-Camille Corot, 1873-74, Pushkin Museum

Diana Bathing. 1873–1874, Pushkin Museum

Repose by Jean-Baptiste-Camille Corot, 1860, reworked c. 1865-1870 - Corcoran Gallery of Art - DSC01293

Repose. National Gallery of Art, National Gallery of Art[61]

See also

Notes and references


  1. ^ His birth certificate initially indicated 27 messidor (July 15), but this was corrected to 28
  2. ^ Gary Tinterow, Michael Pantazzi, and Vincent Pomarède, Corot, Abrams, New York, 1996, p. 5, ISBN 0-87099-769-6
  3. ^ a b Tinterow, et al., p. 6
  4. ^ "Lycée Pierre Corneille de Rouen - The Lycée Corneille of Rouen".
  5. ^ Tinterow, et al., p. 30
  6. ^ Tinterow, et al., pp. 7–8
  7. ^ a b Tinterow, et al., p. 8
  8. ^ Vincent Pomarède & Gérard de Wallens, Corot: Extraordinary Landscapes, "Abrams Discoveries" series. Harry N. Abrams, New York, 1996, p. 20, ISBN 0-8109-6327-2
  9. ^ Peter Galassi, Corot in Italy, Yale University Press, 1991, p. 57, ISBN 0-300-04957-9
  10. ^ Tinterow, et al., p. 12
  11. ^ Tinterow, et al., p. 35
  12. ^ Tinterow, et al., p. 14
  13. ^ Tinterow, et al., p. 15
  14. ^ Galassi, p. 11
  15. ^ Tinterow, et al., p. 414
  16. ^ Tinterow, et al., p. 42
  17. ^ Tinterow, et al., pp. 23–24
  18. ^ Tinterow, et al., p. 57
  19. ^ Tinterow, et al., p. 22
  20. ^ a b c Tinterow, et al., p. 20
  21. ^ Tinterow, et al., p. 76
  22. ^ Galassi, p. 2
  23. ^ Galassi, pp. 6–7, 11
  24. ^ Tinterow, et al., p. 111
  25. ^ Tinterow, et al., p. 116
  26. ^ Pomarède & de Wallens, p. 69
  27. ^ Pomaréde, Vincent, Le ABCdaire de Corot et le passage français (1996), Flammarion, Paris, (ISBN 2-08-012466-8)
  28. ^ Tinterow, et al., p. 27
  29. ^ a b Tinterow, et al., p. 156
  30. ^ Tinterow, et al., p. 162
  31. ^ Tinterow, et al., p. 164
  32. ^ Tinterow, et al., p. 211
  33. ^ Tinterow, et al., p. 142
  34. ^ Tinterow, et al., p. 208
  35. ^ a b c Tinterow, et al., p. 150
  36. ^ Tinterow, et al., p. 145
  37. ^ Tinterow, et al., p. 148
  38. ^ Tinterow, et al., p. 149
  39. ^ a b Tinterow, et al., p. 271
  40. ^ Tinterow, et al., p. 152
  41. ^ Tinterow, et al., p. 227
  42. ^ Tinterow, et al., p. 262
  43. ^ a b Tinterow, et al., p. 266
  44. ^ "St Sebastian Succoured by Holy Women". The Walters Art Museum.
  45. ^ Tinterow, et al., p. 270
  46. ^ Tinterow, et al., p. 272
  47. ^ Tinterow, et al., p. 273
  48. ^ Tinterow, et al., p. xiv
  49. ^ Sarah Herring, "Six Paintings by Corot: Methods, Materials and Sources", National Gallery Technical Bulletin, Volume 3, 2009, p. 86 Accessed May 26, 2014
  50. ^ Tinterow, et al., p. 267
  51. ^ Pomarède & de Wallens, p. 33
  52. ^ Fronia E. Wissman, "Corot (Jean-Baptiste-)Camille," The Dictionary of Art, vol. 7, New York, Macmillan Publishers Ltd., 1996, p. 878
  53. ^ "Bathers of the Borromean Isles," Great French Paintings from the Clark: Barbizon through Impressionism, New York and Williamstown, MA, Skira Rizzoli Publications, Inc. and Sterling and Francine Clark Institute, 2011, p. 56
  54. ^ Annie Pagès, “COROT Jean-Baptise Camille,” Bénézit : Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 3, Paris: Gründ, 1999, p. 903
  55. ^ Tinterow, et al., pp. 289–290
  56. ^ Tinterow, et al., p. 334, 352
  57. ^ Pomarède & de Wallens, p. 70
  58. ^ Pomarède & de Wallens, p. 101
  59. ^ Pomarède & de Wallens, p. 102
  60. ^ Pomarède & de Wallens, p. 109
  61. ^ a b Smee, Sebastian (2018-09-24). "A 19th-century painting that rivals the Mona Lisa". Washington Post.
  62. ^ Tinterow, et al., p. 383
  63. ^ Marc Fehlmann, 'Menn copiste II. Barthélemy Menn et ses contemporains', in: Genava. Revue d'histoire de l'art et d'archéologie, Vol. 57, 2009, pp. 61–91, esp. 83–87.
  64. ^ Tinterow, et al., p. 389
  65. ^ Tinterow, et al., p. 390
  66. ^ Tinterow, et al., p. 393
  67. ^ "Une matinée, la danse des nymphes". Musée d'Orsay (in French). Retrieved 2018-12-13.
  68. ^ "Macbeth and the Witches". Archived from the original on 2009-04-17. Retrieved 2008-11-12.
  69. ^ "Baigneuses au Bord d'un Lac - Jean-Babtiste-Camille Corot".
  70. ^ "Nymphes et Faunes (Nymphs and Fauns)". Birmingham Museum of Art. Retrieved 2018-12-13.


  • Clark, Kenneth (1991). Landscape into Art. New York: HarperCollins. ISBN 0-06-010781-2.
  • Leymarie, J (1979). Corot. Discovering the nineteenth century. Geneva: Skira. ISBN 0-8478-0238-8.
  • Tinterow, Gary; Pantazzi, Michael; Pomarède, Vincent (1996). Corot. New York: Metropolitan Museum of Art. ISBN 0-87099-769-6.
  • Dumas, Bertrand (2005). Trésors des églises parisiennes (in French). Paris: éditions Parigramme. pp. 104–105. ISBN 2-84096-359-0.
  •  This article incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Corot, Jean-Baptiste Camille" . Encyclopædia Britannica (11th ed.). Cambridge University Press.

External links

Alexandre Defaux

Alexandre Defaux (1826–1900) was a French artist. He was born in Bercy and studied under Jean-Baptiste-Camille Corot. He was a member of the Barbizon School.

Belgrade City Museum

The Belgrade City Museum (Serbian Cyrillic: Музеј Града Београда) is a museum located in Belgrade, Serbia. Founded in 1903, the museum operates with several cultural institutions: Ivo Andrić Museum, Princess Ljubica's Residence, Paja Jovanović Museum, Banjica Concentration Camp Museum, Collection of Icons Sekulić, Archaeological Site Vinča and Jovan Cvijić Museum.

The Belgrade City Museum contains over 2,500 paintings, graphics, aquarelles and drawings. It contains numerous paintings by Serbian painters Paja Jovanović, Sava Šumanović, Uroš Predić, Nadežda Petrović, Petar Lubarda and others. Among others, it contains paintings and graphics by foreign artists Albrecht Dürer, Miklós Barabás and Jean-Baptiste-Camille Corot.

Charles A. Alluaud

Charles A. Alluaud (4 May 1861, Limoges – 12 December 1949, Crozant) was a French entomologist.

The Alluaud family had owned porcelain factories since the 18th century. His great grandfather had been chairman of the Ancienne Manufacture Royale de Limoges and his grandfather, François Alluaud (1778–1866), was a porcelain manufacturer, archaeologist, and geologist. Jean-Baptiste-Camille Corot (1796–1875) taught painting to Charles and his brother Eugene.

Charles left Limoges for Paris to supplement his studies but was an undisciplined pupil. The death of his parents enabled him to become an explorer. From 1887 to 1930, he went on many journeys in Africa (Ivory Coast, Madagascar, Kilimanjaro, Tunisia, Morocco, Sudan, the Sahara, Niger), the Canary Islands, Seychelles and Mascarene Islands. He assembled an important collections of insects during his voyages, later giving these to the entomology department of the Muséum national d'histoire naturelle. He was the author of 165 entomological publications. He was president of the Société entomologique de France in 1899 and 1914.

Charles Le Roux

Marie-Guillaume Charles Le Roux (1814–1895) was a landscape painter of the Barbizon school. He was born and died in Nantes, and is noted for his paintings of the Loire and its surroundings.

He was a pupil of Jean-Baptiste-Camille Corot and a friend of Théodore Rousseau and Gustave Dore. Having inherited a fortune, he did not have to sell his works.

Museums holding works by Le Roux include the Musée des Beaux-Arts de Nantes. His painting Edge of the Woods; Cherry Trees in Autumn, which was painted in the last year (1895) of the artist's life, was exhibited in the Exposition Universelle of 1900, and is in the collection of the Musée d’Orsay.

Cliché verre

Cliché verre is a combination of painting (and/or drawing) with photography. In brief, it is a method of either etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. It is a process first practiced by a number of French painters during the early 19th century. The French landscape painter Jean-Baptiste-Camille Corot was the best known of these. Some contemporary artists have developed techniques for achieving a variety of line, tone, texture and color by experimenting with film, frosted Mylar, paint and inks and a wide assortment of tools for painting, etching, scratching, rubbing and daubing. Scratching a negative is another form of cliche verre. Many ways to get different designs for a cliche verre is to print a design off of the computer onto transparent paper. Or even scan a photo onto transparent paper and alter it that way before exposing it.

Cliché verre is French. Cliché is a printing term: a printing plate cast from movable type; while verre means glass.

Cliché verre was one of the earliest forms of reproducing images before the advent of the camera. As a precursor to photography, cliché verre could accurately represent the original scene without the tonal variations available in modern day photography.

Constant Dutilleux

Constant Dutilleux (5 October 1807, Douai - 21 October 1865, Paris) was a 19th-century French painter, illustrator and engraver. He was the great-grandfather of the composer Henri Dutilleux.

Dutilleux preferred landscape paintings. He was mainly influenced by Eugène Delacroix and Jean-Baptiste-Camille Corot.

Femme Lisant

Femme Lisant is a 1869 painting by French artist Jean-Baptiste-Camille Corot. The painting is now in the Metropolitan Museum of Art in New York City.

The painting depicts a woman reading; in the distance is a man in a boat. Corot, whose reputation was made as a landscape painter, painted many images of solitary, pensive women in his later years. Femme Lisant, which was shown at the Salon of 1869, is the only one of them that he exhibited in his lifetime.

Le concert champêtre

Le Concert Champêtre ("Woodland Music-makers") is an 1857 painting by French artist Jean-Baptiste-Camille Corot, currently housed in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857.

The painting depicts three women, one with a cello, in the foreground of a forest landscape.

List of French art works in the National Museum of Serbia

The French Art Collection in National Museum of Serbia consists of more than 250 paintings and more than 400 graphics and drawings, from the 16th to early 20th century, including the Šlomović Collection (58 paintings and over 200 graphics). Among the French painters represented in the collection are Robert Tournières, Hubert Robert, Sébastien Bourdon, Eugène Delacroix, Gauguin, Renoir, Henri de Toulouse-Lautrec, Matisse, Monet, Cézanne, Degas, Jean-Baptiste-Camille Corot, Mary Cassatt, Paul Signac, Maurice Utrillo, Auguste Rodin, Georges Rouault, Pierre Bonnard, Pissarro, Odilon Redon, Gustave Moreau, Honoré Daumier, Eugène Carrière, Maurice de Vlaminck, André Derain, Raoul Dufy, Suzanne Valadon, Eugène Fromentin, Émile Bernard, Forain, André Dunoyer de Segonzac, Robert Delaunay, Pascin, Rosa Bonheur, Marie Laurencin, Georges Dufrénoy. The graphic and etching collection includes work by Charles Le Brun, Sébastien Bourdon, Jacques Callot, Charles-François Daubigny, Degas, Delacroix, Jean-Baptiste-Camille Corot, Le Corbusier (3 graphic), Renoir, Jean Cocteau, Eugène Carrière, etc. .

Some of the works are:

Nicolas Tournier, Concert (canvas 120x169cm) (Before attributed to Caravaggio)

Robert Tournières, Regent and Ms De Parabere (canvas 96x130cm)

Jean-Marc Nattier, Portrait of Lady with Flower (canvas 73x59cm)

Hubert Robert, (2 works) Stairway of Farnese Palace Park and Park on the Lake

Felix Nadar, Milos Obrenovic Portrait (canvas 116x90cm 1874)

Cézanne,(5 works) Breakfast in the field (4 works)-(lithograph) Bathers (watercolor),

Renoir, (18 paintings, 5 pastels, 25 drawings, 28 prints) canvases: Nude, Sea by Trelaulle, Female Laying Act, Girl with umbrella, Landscape with post office at Cagnes, Small boy, Two girls, Recumbent Nude, Guitar Players (drawings), Two Women with Umbrellas (1879, Pastel on paper), Bathers (drawing), At the Moulin de la Galette (pencil) and others

Monet, Rouen Cathedral

Henri de Toulouse-Lautrec, (3 works) Female portrait (canvas), Yvette Gilber Portrait (chalk drawing), Female Singer (lithograph)

Degas (40 works), Three Ballerinas in blue, Courtesans, Ballerinas (drawing), Women at her Toilet (drawing), Monotype, The bath, Bust of man in soft hat, Study of a Dancer in Tights (1900, black crayon) and others

Gauguin, (5 works) Tahitian girl (oil on canvas - 143 x 98 cm), Tahitian Girl with Dog (watercolor), Still Life with Liqueur bottle Benedikt (oil on canvas), Joys of Brittany (1889, tempera), Tahitian Man with the Craft (watercolour)

Pissarro, (2 canvases, 2 watercolours, 6 graphics) Place du Theatre Francais-Sun effect (canvas), Green Landscape (canvas), Portrait of Paul Gauguin (watercolor), Road through Field (watercolor) and Market at Pontoise (drawing)

Matisse, (3 works) Red Beech (canvas), Head of a Woman (drawing), Beside the window (canvas)

Corot (4 canvases, 1 drawing), In the Park (canvas), Landscape from Italy (canvas), Pasture beside the Hillock (canvas),Landscape with the Swamp and Meadow by the Swamp (drawing)

André Derain, (3 oils, 2 chalks), Sailboats at Carriéres, Landscape with Olive Trees, Still Life, Female Act (chalk), Nude (chalk).

Honoré Daumier, Mother

Gustave Moreau, Tired Centaur

Maurice Utrillo, (5 oils and 1 gouache)Cabare Lapine Agile II, Montmartre, Montmartre under snow (gouache), Parisian Street, Cathedral in Sartre (canvas), Madhouse in Sanoa and Saint-Vensain Street

Maurice de Vlaminck, (5 works) Fields, The snow, Vase with Flowers, Still Life with Fish (1905) and My Father's Orchard (1905)

Redon, (11 works) A Head of a Gnome, Profile of a Girl with Flowers, La Chimere (drawing) and Eyes (drawing)

Paul Signac, (2 works) Woman drinking tea (canvas), St. Malo,Walls and Barges (aquarelle)

Pierre Bonnard, (3 canvases,25 graphics and 1 pastel) Reading Lady (canvas), Sitting Child (canvas),City scene on Mon-Matre, Still Life, Place Clichy (pastel)

Auguste Rodin, (1 watercolor, 2 graphics), Female Act (watercolor),Female Act (pencil) and Two Females Act (pencil)

Édouard Vuillard, Interior (tempera), Child on Sleeping (pastel)

Raoul Dufy, (2 gouaches and 29 etchings)St Juan Bay (aquarelle)

Constant Troyon, Cows and Sheep

Rosa Bonheur, White Horse in the Stalls

Othon Friesz, Woman with Jar and Flowers

Marie Laurencin, Two sisters (canvas) and Ballerinas (lithography)

Georges Rouault, (1 watercolour, 1 gouache, 52 etchings and graphics) Old man Ibi(gouache and tempera), Clown (aquarelle)

Léopold Survage, Landscape from Colliure (tempera)

Charles-François Daubigny, Landscape with Moonshine (canvas)

Henri Harpignies, Landscape with River (canvas 123x150cm), Omans by Erissone, Landscape (aquarelle)

Jean Cocteau, Sketch (drawing)

Eugène Boudin, Still Life with Cherries

Suzanne Valadon, Flowers, Still Life with Flowers

Félix Ziem, Venetian Landscape with Sailing Boat

André Lhote, (1 canvas,3 graphics) Female Portrait c1925,

Lucien Pissarro, Sunny Landscape (canvas), Rain in Cold Harbour (canvas)

Forain, (1 pastel, 24 graphics), Satirical Scenes, Ballerina (pastel)

Jacques-Émile Blanche, Princess Olga of Greece and Denmark Portrait

Georges Dufrénoy, Still Life with Flowers, Dahlias

Léon-Victor Dupré, Forest

Aristide Maillol, (3 sculptures and 3 charcoals) The Bather, The Bather with Veil and Sketch Composition

Louis Gustave Ricard, Portrait of Man in Black Coat

Bernard, Pere Ubu

Robert Delaunay, Runners, Eiffel Tower (ink)

Pascin, Balcony

Rodolphe d'Erlanger, Balcony in Flowers

Léon Augustin Lhermitte, Haystacks

Paul Dubois, Maroccan Fortune-Teller

André Dunoyer de Segonzac, Landscape from South (canvas), Nude Woman (ink)

Charles Fouqueray, Mount Adam in Sri Lanka

Eugène Isabey, Gothic Ruins

Georges Scott, Bridge (canvas)

Eugène Carrière, Mother with her Child (canvas), Landscape with Figure, Landscape with Hill

Alfred Manessier, Tree (lithograph)

Maurice Denis, Girl with Basket (charcoal)

Lucien-Victor Guirand de Scévola, Road to Provence (canvas 147x115cm)

Louisine Havemeyer

Louisine Waldron Elder Havemeyer (July 28, 1855 – January 6, 1929) was an art collector, feminist, and philanthropist. In addition to being a patron of impressionist art, she was one of the more prominent contributors to the suffrage movement in the United States. The impressionist painter Edgar Degas and feminist Alice Paul were among the renowned recipients of the benefactor's support.

Narcisse Chaillou

Narcisse Chaillou (12 March 1835 – 1916) was a French painter famous for his genre scenes of Paris and Brittany life.

He moved to Paris in 1870 and became the student of Léon Bonnat (1833–1922), Ernest Hébert (1817–1908) et Jean-Baptiste-Camille Corot (1796–1875). He exhibited his works in many French Salons, among them the Salon de Paris and the Salon des artistes français. He moved to Brittany in 1880. The artworks of Narcisse Chaillou belong to the public collections and museums in the cities of Rennes, Nantes, Morlaix and Vitré.The painter died in Guémémé-sur-Scorff (Brittany) in 1916.

Ponte d'Augusto (Narni)

The Ponte d’Augusto (Italian for "Bridge of Augustus") is a Roman arch bridge in the Italian city Narni in Umbria, built to carry the Flaminian Way over the river Nera. Of the original four spans of the 160-metre-long (520 ft) bridge, only the southernmost remains standing.

Smith College Museum of Art

The Smith College Museum of Art (abbreviated SCMA), connected with the well-known Smith College, is a prominent art museum in Northampton, Massachusetts. It is considered to be one of the most impressive college museums in the country. The museum is best known for its remarkable compilation of American and European art of the 19th and 20th centuries, including superb works by Edgar Degas, Jean-Baptiste-Camille Corot, Gustave Courbet, Paul Cézanne, Claude Monet, Georges Seurat, Albert Bierstadt, John Singer Sargent and others. First established in 1879, the collection has expanded to include nearly 25,000 works of art, including a diverse collection of non-Western art. It is also a member of the Museums10 collective, a consortium of art, science, and history museums in Western Massachusetts. The SCMA serves as an important cultural and educational resource for the communities of Smith College, the Five College Consortium, and the town of Northampton.

Souvenir de Mortefontaine

Souvenir de Mortefontaine (Recollection of Mortefontaine) is an 1864 oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot. It is a scene of tranquillity: a woman and children quietly enjoying themselves by a glass-flat, tree-flanked lake.

Generally acknowledged as one of his masterpieces, it is among the most successful of Corot's later, more poetic works. The painting captures an idealized scene while still drawing from the real world. Corot's early painting showed Realist leanings, but as his career progressed he began to combine more Romantic elements, and his works are often viewed as a bridge between Realism and the evolving Impressionist movement. Souvenir de Mortefontaine verges on the Impressionistic, with the lake and landscape captured by broad rather than detailed strokes and Corot's careful attention to the play of light within the scene, though the brushwork is precise and the painting has a more muted palette than the bright colours favoured by the Impressionists. The indistinct features are reminiscent of the blurry details of early landscape photography; Corot had a large collection of these photographs and may have been attempting to recreate the effect in paint.

Mortefontaine is a small village in the Oise département in northern France. Corot made frequent visits to the area in the 1850s to study the effects of light and reflection on water. In Souvenir de Mortefontaine Corot was not producing a scene from life, but (as the title suggests) his recollections of his visits and the play of light on the ponds in the village. Corot produced a second similar painting, The Boatman of Mortefontaine (1865–70), which shows the same lake and trees from the same perspective. Changes in the features of the landscape in The Boatman from those depicted in Souvenir hint at the paintings being generalised impressions rather than details captured from life.

Souvenir de Mortefontaine was purchased in 1864 for the French state directly from Corot through Napoleon III's Civil List, and after hanging at Fontainebleau for 25 years it was transferred to the Louvre in 1889.

The Bridge at Narni

The Bridge at Narni (French: Le pont de Narni) is an 1826 painting of the Ponte d'Augusto at Narni by French artist Jean-Baptiste-Camille Corot. The painting is on display at the Musée du Louvre in Paris.

The painting is a product of one of Corot's youthful sojourns in Italy, and, in Kenneth Clark's words, "as free as the most vigorous Constable". It was painted in September 1826 and was the basis for the larger and more finished View at Narni, which was exhibited at the Salon of 1827 and is in the National Gallery of Canada, Ottawa.

The view was not a novel one: in 1821 Corot's teacher, Achille-Etna Michallon had drawn the same scene, as had Corot's friend Ernst Fries in 1826. Corot's study is a reconciliation of traditional and plein air painting objectives:

So deeply did Corot admire Claude and Poussin, so fully did he understand their work, that from the outset he viewed nature in their terms....In less than a year (since his arrival in Rome) he had realized his goal of closing the gap between the empirical freshness of outdoor painting and the organizing principles of classical landscape composition.

The Mesdag Collection

The Mesdag Collection is an art museum in The Hague, Netherlands.

The museum is housed next to the former house of the Dutch painter Hendrik Willem Mesdag and shows the art Mesdag and his wife Sina van Houten have collected from 1866 to 1903. It features work of the painters of the Hague School like Willem Roelofs and Anton Mauve and work of the French Barbizon School (Jean-Baptiste Camille Corot, Théodore Rousseau, Jean-François Millet, Charles-François Daubigny and Eugène Delacroix and paintings of Lawrence Alma-Tadema. There is also a large collection of Japanese art and Japanese craftwork (pottery) on show. This all is shown in a typical 19th-century setting.

The museum was closed for renovation until Spring 2011. On 14 May 2011 it was re-opened and renamed from "Museum Mesdag" to "The Mesdag Collection".

The Panorama Mesdag is housed in different premises within easy walking distance from The Mesdag Collection.

Venise, La Piazetta

Venise, La Piazzetta seen from the Riva degli Schiavoni is an 1835-1845 painting by French artist Jean-Baptiste-Camille Corot. The painting is currently not on display at the Norton Simon Museum in Pasadena. The painting depicts a promenade in Venice, at the Riva degli Schiavoni.

Ville-d'Avray (1865 painting)

Ville d’Avray is an 1865 oil painting by French artist Jean-Baptiste-Camille Corot. It is currently on display at the National Gallery of Art in Washington D.C..

The painting is of the commune where Corot lived in Ville d'Avray.

Zambaccian Museum

The Zambaccian Museum in Bucharest, Romania is a museum in the former home of Krikor Zambaccian (1889 –1962), a businessman and art collector. The museum was founded in 1947, closed by the Ceauşescu regime in 1977, and re-opened in 1992. It is now a branch of The National Museum of Art of Romania. Its collection includes works by Romanian artists—including a masterful portrait of Zambaccian himself by Corneliu Baba—and works by several French impressionists. It is located not far from Piaţa Dorobanţilor on a street now renamed after Zambaccian.

At the time the museum was founded (it opened to the public on May 19, 1947), the act of donation stated that it must be housed in Zambaccian's former home. However, after the 1977 Bucharest earthquake (which did no detectable damage to the museum building), the Romanian government created the Museum of Art Collections, consolidating many of the city's smaller museums (and a good number of expropriated private collections). The Zambaccian collection still resided at the Museum of Art Collections at the time of the Romanian Revolution of 1989; it was returned to its historic location in 1992.

Artists in the collection include Romanians Ion Andreescu, Corneliu Baba, Apcar Baltazar, Henri Catargi, Alexandru Ciucurencu, Horia Damian, Nicolae Dărăscu, Lucian Grigorescu, Nicolae Grigorescu, Iosif Iser, Ştefan Luchian, Samuel Mutzner, Alexandru Padina, Theodor Pallady, Gheorghe Petrașcu, Vasile Popescu, Camil Ressu, and Nicolae Tonitza, and French artists Pierre Bonnard, Paul Cézanne—the museum has the only Cézanne in Romania—, Jean-Baptiste-Camille Corot, Eugène Delacroix, André Derain, Raoul Dufy, Albert Marquet, Henri Matisse, Camille Pissarro, Pierre-Auguste Renoir, and Maurice Utrillo, as well as pieces by two other artists who worked in France, the Spaniard Pablo Picasso and the Englishman Alfred Sisley. The courtyard features a large sculpture by Romanian sculptor Oscar Han; other sculptors with works in the collection are Constantin Brâncuși, Cornel Medrea, Miliţa Pătraşcu, Dimitrie Paciurea, and Frederic Storck; Storck's own former home, also in the north end of Bucharest, is also now a museum.

Theologians and
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